VISUAL HANDBOOK TABLE OF CONTENTS INTRODUCTION ...................................................................................................................... 1 The Blazin’ Brigade Visual Program ............................................................................................ 1 The Role of Student Leaders in Rehearsal .................................................................................. 1 BODY AWARENESS & POSTURE .............................................................................................. 3 Five Points of Alignment ............................................................................................................. 4 INSTRUMENT CARRIAGE ......................................................................................................... 5 The Set Position .......................................................................................................................... 5 The Playing Position ................................................................................................................... 6 MODIFIED CORPS-STYLE TECHNIQUES .................................................................................... 7 Mark Time .................................................................................................................................. 7 Forward March ........................................................................................................................... 8 Back March ............................................................................................................................... 10 Obliques and Slides .................................................................................................................. 12 Closing ...................................................................................................................................... 12 PREGAME VISUAL STANDARDS ............................................................................................. 13 High Mark Time Seven .............................................................................................................. 13 Lock-2-3-Kick ............................................................................................................................ 13 Blaze Step ................................................................................................................................. 13 Blaze Step Close ........................................................................................................................ 14 Blaze Step Flanks ...................................................................................................................... 14 Run-On ...................................................................................................................................... 15 REHEARSAL TECHNIQUES AND EXPECTATIONS ..................................................................... 16 How to Be Successful in Rehearsal ........................................................................................... 16 Step Outs .................................................................................................................................. 16 INTRODUCTION The goal of the Valdosta State University Blazin’ Brigade is to establish processes that are the norm whether in rehearsal or in performance. It is important that we practice as we perform; it is extremely rare to perform at a higher level than you practice. Establishing proper habits during rehearsal translates to better consistency in performance. THE BLAZIN’ BRIGADE VISUAL PROGRAM The Blazin’ Brigade visual program utilizes visual techniques that draw on a number of resources. Many ideas and practices combine elements from several schools of thought, with the hope of enabling the student performer with a set of skills which best prepare him or her for meeting the goals of the ensemble. The techniques presented here are designed to allow the marching musician to best be able to play their instrument a high level, while achieving a visual presentation that is uniform throughout the ensemble and which supports the desired image of the overall production. THE ROLE OF STUDENT LEADERS IN REHEARSAL The Blazin’ Brigade student leadership program is designed to place an enormous amount of ownership in the hands of the members, allowing them the opportunity to serve the organization in an elevated capacity. A substantial level of trust and responsibility is placed upon student leaders and they undergo intensive training and preparation before and during the marching season. RolE ResponsIbIlItIEs Drum majors Lead by example Demonstrate visual marching techniques Assist in teaching fundamentals block, music sectionals, and drill rehearsals Provide feedback to sections and individuals after a rehearsal segment in the areas of music and visual execution Monitor disciplinary aspects of rehearsal Section leaders Lead by example Demonstrate visual marching techniques Demonstrate all music in a proficient manner Assist in teaching fundamentals block and drill rehearsals Teach music sectionals Provide feedback to sections and individuals after a rehearsal segment in the areas of music and visual execution Monitor disciplinary aspects of rehearsal Blazin’ Brigade Visual Handbook 1 RolE ResponsIbIlItIEs Graduate staff Lead by example Assist in teaching fundamentals block and drill rehearsals Teach music sectionals Provide feedback to sections and individuals after a rehearsal segment in the areas of music and visual execution Maintain accurate attendance records Monitor disciplinary aspects of rehearsal Assist in logistical execution of rehearsal preparation/teardown Undergraduate staff Lead by example Assist in teaching fundamentals block and drill rehearsals Provide feedback to sections and individuals after a rehearsal segment in the areas of music and visual execution Monitor disciplinary aspects of rehearsal Assist in logistical execution of rehearsal preparation/teardown Tau Beta Sigma and Kappa Lead by example Kappa Psi members Be a “go-to” person for new members to ask questions if a drum major, section leader, or staff member is unavailable Actively find and anticipate ways to serve the bands All Blazin’ Brigade members are responsible for looking uniform and sounding their best. Blazin’ Brigade Visual Handbook 2 BODY AWARENESS & POSTURE The single most important trait of a successful marching band is the ensemble body posture. The manner in which a member stands directly affects the level they will be able to play, spin, dance, or march. Improper body carriage can put unwanted strain and tension on the body. Tension is the number one cause of poor performance no matter the section. Ironically however, this is one of the most overlooked areas of visual fundamentals. We are oftentimes reluctant to teach things we do not completely understand. Body awareness is actually a very simple and logical concept to teach. In the beginning stages of teaching, we must stress some key points: • Relaxation of the upper body o The shoulders are down and round o The neck, chest, and arms are “soft” § This is a departure from what many bands teach • Separation of the upper body o The upper and lower body should be “separated” at the hips § The upper body can be imagined as the “musical machine” (musician) § The lower body is the “visual machine” (athlete) § The two rely on each other to work effectively, but they must remain autonomous to be maximized o Stretch your abdomen up and away from the hips o Make the distance between your lowest rib and hip bone as wide as possible without causing tension • The back o The back should be straight and flat o Avoid any arch or curve in the small of your back • Proper weight distribution o The performer’s body weight should remain on the front two-fifths of the foot at all times § This part of the foot is known as the platform § All motion begins from the platform § This is the most efficient area to keep body weight o Although a majority of the performer’s body weight should be on the platform, the heel should not be visibly off the ground • Visual tuning o As with any musical exercise, timing of all visual exercises is dependent on proper subdivision o Moving together as a group is analogous to visual “tuning” o In music we use our ears to tune; in visual settings we use our eyes Blazin’ Brigade Visual Handbook 3 • Breathing o Without proper breathing techniques (addressed in Musical Fitness), our music will never reach a proficient level o Our visual technique will plateau and falter if proper breathing technique is not employed • Center of body o When standing in a given position on the field, the performer will have a designated spot, often referred to as a “dot” o This dot should be centered directly between the arches of the feet when the performer stands with feet together o When standing on a yard line, the arches should be centered on the center of the line FIVE POINTS OF ALIGNMENT Correct posture involves a system of “five points of alignment.” One should imagine a straight line that runs from the floor through the anklEs, the sides of the knEEs, the sides of the hips, the shoulders, and the small bone just behind the ears. Feet should be together. The performer should think of elevating the rib cage and expanding their chest while keeping the neck and shoulders relaxed, which will enable proper breathing. The vertebrae should be separated, visualizing “lifting up” from the